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+%\iffalse
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%% musixcrd - typsetting chord symbols with %%
+%% musixtex %%
+%% main source file contains code, doc, and examples %%
+%% $Id$ %%
+%% copyright 2004 , Robert Hennig %%
+%% this code is licensed in terms of the %%
+%% GNU Public License %%
+%% %%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%\fi
+\ifx\makeatletter\undefined\def\makeatletter{\catcode`\@=11\relax}\fi
+\ifx\makeatother\undefined\def\makeatother{\catcode`\@=12\relax}\fi
+
+\makeatletter% ^^A allows to use @ as ordinary letter
+%
+% \def\backslash{\tt\char'134}
+% \def\musixtex{MusiX\TeX}
+% \def\musixcrd{MusixCrd}
+% \def\crdexample#1{{\tt\backslash c #1 }$\rightarrow$ \c #1 \medskip}
+% \def\pmx{PMX}
+% \title{
+% {\bf \musixcrd} \\
+% --- Typesetting Chord Symbols with \musixtex --- \\
+% Version 1.1 \\
+% {\large $Revision$}}
+%
+% \author{Robert Hennig\thanks{robert.hennig@freylax.de}}
+% \maketitle
+% \tableofcontents
+%
+% \section{Usage}
+% This package was written to ease the typesetting of chord symbols
+% for music scores.
+% One point of focus was that the user should have not to much to type
+% if placing the cord. So one macro will be used which takes characters
+% as argument which describe the chord to type. \par
+% Thought the syntax of the chord description could easily be altered they
+% should become somewhat stable whereas the output format can be adapted to
+% individual needs.
+% Further the notenames can be transposed, so transposing a music piece
+% with chord symbols can be done easily. \par
+% The package can be used with \musixtex\ and \pmx\
+% -- which also gave the idea for the usage of an short chord--description
+% `language'.
+% \footnote{If the default output functions are changed the package could
+% also be used with \TeX{} and \LaTeX{} alone.}
+% \par
+%
+% \DescribeMacro{\c}
+% The main macro which the package defines is
+% \verb*|\c |\synt{chord-list}\verb*| |. The argument is an space
+% terminated \synt{chord-list}
+% \footnote{This form of argument was choosen because it leads to a
+% short notation inside \pmx\ e.g.: \\
+% {\tt \backslash c AfM \backslash\ e8 f g4 \backslash c Gm7 \backslash\ b4 g}
+% }.
+% \begin{demo}[w]{\musixtex}
+% \nobarnumbers
+% \startextract
+% \NOtes\c CM7 \hu e\c Dm7 \hu f\en\bar
+% \NOTEs\c Ch/E \hu g\c F6/A \hu h\en\bar
+% \NOtes\c 0-1E7/G \hl i\c Fd/Af \hl j\en
+% \endextract
+% \end{demo}
+%
+% \subsection{Syntax}
+% \begin{grammar}
+% <empty> ::= `'
+%
+% <digit> ::= `0' | `1' | `2' | `3' | `4' | `5' | `6' | `7' | `8' | `9'
+%
+% <number> ::= <digit> | `-' <digit>
+%
+% <vertical-shift> ::= <number> | <empty>
+%
+% <horizontal-shift> ::= <number> | <empty>
+%
+% <note-base-name> ::= `C' | `D' | `E' | `F' | `G' | `A' | `B'
+%
+% <accidental> ::= `s' | `f' | `ds' | `df'
+%
+% <note-name> ::= <empty> | <note-base-name>
+% | <note-base-name> <accidental>
+%
+% <chord-qualifier> ::=
+% `m' | `d' | `h' | `M' | `4' | `+5' | `-5' | `6' | `7' | `-9' | `+9'
+%
+% <chord-qualifier-list> ::= <empty>
+% | <chord-qualifier> <chord-qualifier-list>
+%
+% <begin-bass-note> ::= <empty> | `/'
+%
+% <chord> ::= <vertical-shift> <horizontal-shift> \\
+% <note-name> <chord-qualifier-list> \\
+% <begin-bass-note> <note-name> <chord-qualifier-list>
+%
+% <chord-list> ::= <chord-list> `,' <chord-list> | <chord> | <empty>
+% \end{grammar}
+%
+%
+% \subsection{Semantics}
+% \paragraph{\synt{vertical-shift}}
+% \DescribeMacro{\crddefaultheight}
+% Adjustment of the vertical chord position in internotes,
+% relative to the default value defined with
+% \verb*|\crddefaultheight|. You may change this default within
+% your sheet.
+% \begin{macrocode}
+\def\crddefaultheight{10}
+% \end{macrocode}
+% \paragraph{\synt{horizontal-shift}}
+% Horizontal adjustment in multiples of \verb*|\elemskip|.
+%
+% \paragraph{\synt{accidental}}
+% Allowed accidentals are: sharp, flat, double-sharp, double-flat.
+%
+% \paragraph{\synt{note-name}}
+% \DescribeMacro{\crdtranspose}
+% The given note names are transposed by the number of quint steps
+% given in \verb*|\crdtranspose|. You may change this value within
+% your sheet.
+% \begin{macrocode}
+\def\crdtranspose{0}
+% \end{macrocode}
+% \paragraph{\synt{chord-qualifier}}
+% Currently known qualifiers are:
+% \begin{description}
+% \item[m] minor
+% \item[d] diminished
+% \item[h] half-diminished
+% \item[M] major
+% \item[4] suspended fourth
+% \item[+5] augmented fifth
+% \item[-5] diminished fifth
+% \item[6] 6th
+% \item[7] 7th
+% \item[9] 9th
+% \item[-9] diminished 9th
+% \item[+9] augmented 9th
+% \end{description}
+% Note that the syntax is independent of the visualization
+% of the qualifier so different chord styles could be applied.
+%
+% \paragraph{\synt{begin-bass-note}}
+% Use the `/' symbol to skip the \synt{note-name} and
+% \synt{chord-qualifier-list} to allow the notation of
+% bass-notes without chord-notes.
+%
+% \paragraph{\synt{chord-list}}
+% With `,' separated chords are spread evenly
+% within one bar. Use this notation if the horizontal positions
+% of the chords do not line up with the notes.
+%
+%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% \section{Implementation}
+% \subsection{Input Guard}
+% To prevent repeated defenition of the main macros
+% we end the inclusion of this file if we already now
+% about our macros.
+% \begin{macrocode}
+\ifx\crd@parser\undefined\else\makeatother\endinput\fi%
+% \end{macrocode}
+% \subsection{List Macros}
+% For the parsing of the chord description some macros are needed which
+% can do simple string operations. \medskip \\
+% \DescribeMacro{\crd@append}
+% \syntax{"\\crd@append"<tokens-a>"\\to"<tokens-b>}\\
+% Append \synt{tokens-a} to \synt{tokens-b}.
+% \begin{macrocode}
+\def\crd@append#1\to#2{%
+ \toks0=\expandafter{#1}\toks2=\expandafter{#2}%
+ \edef#2{\the\toks2 \the\toks0}}
+% \end{macrocode}
+% \DescribeMacro{\crd@prepend}
+% \syntax{"\\crd@prepend"<tokens-a>"\\by"<tokens-b>}\\
+% Prepend \synt{tokens-a} by \synt{tokens-b}.
+% \begin{macrocode}
+\def\crd@prepend#1\by#2{%
+ \toks0=\expandafter{#1}\toks2=\expandafter{#2}%
+ \edef#1{\the\toks2 \the\toks0}}
+% \end{macrocode}
+% \DescribeMacro{\crd@movetoken}
+% \syntax{"\\crd@movetoken"<tokens-a>"\\to"<tokens-b>}\\
+% Move the first token of \synt{tokens-a} to the front of
+% \synt{tokens-b}.
+% \begin{macrocode}
+\def\crd@movetoken#1\to#2{%
+ \ifx#1\empty\else\expandafter\crd@moveoff#1\crd@moveoff#1#2\fi}%
+\def\crd@moveoff#1#2\crd@moveoff#3#4{\def#3{#2}\crd@prepend#4\by#1}
+% \end{macrocode}
+% \begin{demo}[w]{test}
+% \makeatletter
+% \def\l{oo} (\l) %
+% \crd@append{ns}\to\l append:(\l) %
+% \crd@prepend\l\by{sp} prepend:(\l)\\%
+% \def\swap#1#2{(#1,#2) %
+% \ifx#1\empty\else\crd@movetoken#1\to#2\swap#1#2\fi}
+% \def\r{} movetoken:\\ \swap\l\r
+% \makeatother
+% \end{demo}
+%
+% \subsection{Parsing}
+% To describe the syntatic items which exists for a distinct semantic
+% a \synt{syntax-table} is used.
+% For each item exists a coresponding macro which will be executed
+% if it name matches. The name of the item consists of the
+% \synt{syntax-table} name and the \emph{reverse} syntax of this item. \par
+%
+% \DescribeMacro{\crd@parse}
+% The \syntax{"\\crd@parse"<tokens>"\\for"<syntax-table>} macro is used
+% to test if the first part of \synt{tokens} has matches for the longest
+% possible item described in \synt{syntax-table}.
+% If an item matched its macro will be expanded and
+% and the tokens of the item are cut of from the given \synt{tokens}.
+% \DescribeMacro{\crd@parsematched}
+% The conditional \verb|\crd@parsematched| is true if an item matched and
+% false otherwise.
+%
+% \begin{macrocode}
+\newif\ifcrd@parsematched% true if parse matched
+\newcount\crd@parsedepth% internal register
+
+\def\crd@parse#1\for#2{% parse tokens #1 for occurence of items of table #2
+ \crd@parsedepth=1 % default if not defined
+ \expandafter\ifx\csname#2depth\endcsname\relax\else%
+ \crd@parsedepth=\csname#2depth\endcsname%
+ \fi%
+ \def\stack{}%\def\crd@parseresult{}
+ \crd@parsematchedfalse% initialisation
+ \crd@parser#1\for#2% call the recursive part
+}
+\def\crd@parser#1\for#2{% recursive part of parser
+ \ifx#1\empty\else% is list filled ?
+ \ifnum\crd@parsedepth>0 % and do we have to read more chars into stack
+ \advance\crd@parsedepth by-1 %
+ \crd@movetoken#1\to\stack%
+ \crd@parser#1\for#2% recursive call
+ \ifcrd@parsematched\else% if still not matched
+ \expandafter\ifx\csname#2\stack\endcsname\relax% does item match
+ \crd@movetoken\stack\to#1% no match, put char back to source
+ \else% match
+ \csname#2\stack\endcsname%
+ \crd@parsematchedtrue% signal success
+ \fi%
+ \fi%
+ \fi%
+ \fi%
+}
+% \end{macrocode}
+% For an example suppose that we want to express the
+% semantic \synt{bool} by the following grammar:
+% \begin{grammar}
+% <bool> ::= `y' | `n' | `yes' | `no'
+% \end{grammar}
+%
+% \begin{demo}[w]{bool}
+% \def\bool{bool} % syntax-table with name `bool'
+% \def\booldepth{3} % max length of text to looking for is 3
+% \def\booly{true}
+% \def\booln{false}
+% \def\boolsey{true*} % reverse syntax !!!
+% \def\boolon{false*} % reverse syntax !!!
+% \makeatletter
+% \def\p#1{ (#1) \crd@parse#1\for\bool : (#1)\\}
+% \makeatother
+% \def\l{nonyyestest} \p\l\p\l\p\l\p\l\p\l
+% \end{demo}
+%
+%
+% \subsection{Chord parsing}
+% \subsubsection{Vertical and Horizontal shifting}
+% \begin{macrocode}
+\newcount\crd@vshift%
+\newcount\crd@hshift%
+\def\crd@number{crd@number}%
+\def\crd@numberdepth{2}%
+\expandafter\def\csname\crd@number0\endcsname{\crd@numberval=0 }%
+\expandafter\def\csname\crd@number1\endcsname{\crd@numberval=1 }%
+\expandafter\def\csname\crd@number2\endcsname{\crd@numberval=2 }%
+\expandafter\def\csname\crd@number3\endcsname{\crd@numberval=3 }%
+\expandafter\def\csname\crd@number4\endcsname{\crd@numberval=4 }%
+\expandafter\def\csname\crd@number5\endcsname{\crd@numberval=5 }%
+\expandafter\def\csname\crd@number6\endcsname{\crd@numberval=6 }%
+\expandafter\def\csname\crd@number7\endcsname{\crd@numberval=7 }%
+\expandafter\def\csname\crd@number8\endcsname{\crd@numberval=8 }%
+\expandafter\def\csname\crd@number9\endcsname{\crd@numberval=9 }%
+\expandafter\def\csname\crd@number1-\endcsname{\crd@numberval=-1 }%
+\expandafter\def\csname\crd@number2-\endcsname{\crd@numberval=-2 }%
+\expandafter\def\csname\crd@number3-\endcsname{\crd@numberval=-3 }%
+\expandafter\def\csname\crd@number4-\endcsname{\crd@numberval=-4 }%
+\expandafter\def\csname\crd@number5-\endcsname{\crd@numberval=-5 }%
+\expandafter\def\csname\crd@number6-\endcsname{\crd@numberval=-6 }%
+\expandafter\def\csname\crd@number7-\endcsname{\crd@numberval=-7 }%
+\expandafter\def\csname\crd@number8-\endcsname{\crd@numberval=-8 }%
+\expandafter\def\csname\crd@number9-\endcsname{\crd@numberval=-9 }%
+
+\def\crd@bracketinit{%
+ \def\crd@bracketopen{}%
+ \def\crd@bracketclose{}%
+}
+\def\crd@bracket{crd@bracket}%
+\def\crd@bracketdepth{1}%
+\expandafter\def\csname\crd@bracket(\endcsname{%
+ \crd@append(\to\crd@bracketopen}%
+\expandafter\def\csname\crd@bracket)\endcsname{%
+ \crd@append)\to\crd@bracketclose}%
+
+% \end{macrocode}
+% \subsubsection{Notes and Accidentals}
+% \paragraph{Syntax}
+% In order to allow transposition of notes we use the circle of fifth
+% for representing notes.
+% \DescribeMacro{\crd@quintval}
+% The syntax table \verb|\crd@quintval| contains the mapping from note
+% names to the note position in the circle of fifth. \\
+% \DescribeMacro{\crd@quint}
+% The count register \verb|\crd@quint| is used to receive the result.
+% \begin{macrocode}
+\newcount\crd@quint% register used to represent notes in the circle of
+\def\crd@quintval{crd@quintval}%
+\def\crd@quintvalA{\crd@quint=3 }% A
+\def\crd@quintvalB{\crd@quint=5 }% B
+\def\crd@quintvalC{\crd@quint=0 }% C
+\def\crd@quintvalD{\crd@quint=2 }% D
+\def\crd@quintvalE{\crd@quint=4 }% E
+\def\crd@quintvalF{\crd@quint=-1 }% F
+\def\crd@quintvalG{\crd@quint=1 }% G
+% \end{macrocode}
+% \DescribeMacro{\crd@quintmod}
+% The modification of the note position in the circle of fifth
+% which is caused by the accidentals is coded in the
+% \verb|\crd@quintmod| syntax table.
+% \begin{macrocode}
+\def\crd@quintmod{crd@quintmod}
+\def\crd@quintmoddepth{2}
+\def\crd@quintmods{\advance\crd@quint by7 }% sharp
+\def\crd@quintmodf{\advance\crd@quint by-7 }% flat
+\def\crd@quintmodsd{\advance\crd@quint by14 }% double sharp
+\def\crd@quintmodfd{\advance\crd@quint by-14 }% double flat
+% \end{macrocode}
+% \paragraph{Notenames and accidental symbols}
+% After transpositon and enharmonic adaption an reverse mapping
+% from the circle of fifth to notenames and accidentals is needed.
+% \DescribeMacro{\crd@note}
+% The mapping from circle of fifth to notenames without accidentals
+% is specified in the \verb|\crd@note| table.
+% \DescribeMacro{\crd@notelow}\DescribeMacro{\crd@notehigh}
+% In addition we need to now where the notes without accidentals
+% start and end which is defined in \verb|\crd@notelow| and
+% \verb|crd@notehigh|.
+% \begin{macrocode}
+\def\crd@note{crd@note}
+\expandafter\def\csname\crd@note3\endcsname{A}
+\expandafter\def\csname\crd@note5\endcsname{B}
+\expandafter\def\csname\crd@note0\endcsname{C}
+\expandafter\def\csname\crd@note2\endcsname{D}
+\expandafter\def\csname\crd@note4\endcsname{E}
+\expandafter\def\csname\crd@note-1\endcsname{F}
+\expandafter\def\csname\crd@note1\endcsname{G}
+\def\crd@notelow{-1} % lowest quint without accidental
+\def\crd@notehigh{5} % highest quint without accidental
+% \end{macrocode}
+%
+% \DescribeMacro{\crd@sharp}\DescribeMacro{\crd@flat}
+% \DescribeMacro{\crd@doublesharp}\DescribeMacro{\crd@doubleflat}
+% The following macros define the representation of the
+% (default) accidentals.
+% \begin{macrocode}
+\def\crd@sharp{\sharp}
+\def\crd@flat{\flat}
+\def\crd@doublesharp{\sharp\sharp}
+\def\crd@doubleflat{\flat\flat}
+% \end{macrocode}
+% \paragraph{Parsing}
+% \DescribeMacro{\crd@input}
+% The following functions read their input from \verb|\crd@input|.\\
+% \DescribeMacro{\crd@parsenote}
+% The \syntax{"\\crd@parsenote"<note><accidental>}
+% macro parses the input \verb|\crd@input| and if note and
+% accidental could be detected the transposed note position
+% in the circle of fifth will be calculated, transposed and
+% adapted using the \verb|\crd@enharmonic| macro.
+% Then the position in the circle of fifth is calculated back
+% to the \synt{note} and \synt{accidental} representation which
+% is stored in the arguments.
+% \begin{macrocode}
+\def\crd@parsenote#1#2{% parse input results: #1
+ \def#1{}\def#2{}%
+ \crd@parse\crd@input\for\crd@quintval%
+ \ifcrd@parsematched% we got an valid note
+ \crd@parse\crd@input\for\crd@quintmod%
+ \advance\crd@quint by\crdtranspose \relax% transposition, space is needed!
+ \crd@enharmonic%
+ \ifnum\crd@quint>\crd@notehigh % sharps ?
+ \advance\crd@quint by-7 %
+ \ifnum\crd@quint>\crd@notehigh % double sharp ?
+ \advance\crd@quint by-7 %
+ \ifnum\crd@quint>\crd@notehigh % too much sharps !
+ \relax ERROR:too much sharps%
+ \else\edef#2{\crd@doublesharp}\fi%
+ \else\edef#2{\crd@sharp}\fi%
+ \fi%
+ \ifnum\crd@quint<\crd@notelow % flats ?
+ \advance\crd@quint by7 %
+ \ifnum\crd@quint<\crd@notelow % double flat ?
+ \advance\crd@quint by7 %
+ \ifnum\crd@quint<\crd@notelow % too much flats !
+ \relax ERROR:too much flats%
+ \else\edef#2{\crd@doubleflat}\fi%
+ \else\edef#2{\crd@flat}\fi%
+ \fi%
+ \expandafter\ifx\csname\crd@note\number\crd@quint\endcsname\relax%
+ ERROR:notename for (\number\crd@quint) is not defined.
+ \fi%
+ \edef#1{\csname\crd@note\number\crd@quint\endcsname}% set note
+ \fi%
+}
+% \end{macrocode}
+%
+%
+% \DescribeMacro{\crd@enharmonic}
+% To allow different enharmonic adaptions the \verb|\crd@enharmonic|
+% macro is provided which default behaviour is to do nothing.
+% \begin{macrocode}
+\def\crd@enharmonic{}%
+% \end{macrocode}
+%
+% \begin{demo}[w]{noteparsing}
+% \makeatletter
+% \def\parsenoter{\crd@parsenote\n\a%
+% \ifx\n\empty\else{\crd@notetype\n\a}\parsenoter\fi}%
+% \def\parsenotes#1{%
+% \let\crd@flat=\crd@noteflat%
+% \let\crd@sharp=\crd@notesharp%
+% \def\crd@input{#1}\parsenoter}
+% \makeatother
+%
+% \parsenotes{CDfDEfEFFsGAfAsB}
+% \end{demo}
+%
+%
+% \subsubsection{Chord Qualifiers}
+% To cover a broad range of different styles for setting chord qualifiers
+% the design is open for extensions. For the sake of demonstration and
+% simple usability an default implementation is provided and discussed
+% furtherwards. \\
+% Suppose we want to distinguish 3 different kinds of qualifiers,
+% some go down, some go up and alterations are put in brackets.
+% \DescribeMacro{\crd@qualinit}
+% We choose to use 3 lists (macros) to hold the parsing results.
+% For initialisation of these lists the \verb|\crd@qualinit| macro
+% has to be implemented.
+% \begin{macrocode}
+\def\crd@qualinit{%
+ \def\crd@lo{}% lower extensions
+ \def\crd@up{}% upper extensioins
+ \def\crd@alt{}% alterations
+}
+% \end{macrocode}
+% \DescribeMacro{\crd@qual}
+% Now the syntax table \verb|\crd@qual| has to be defined which fills
+% the lists appropriatly.
+% \begin{macrocode}
+\def\crd@qual{crd@qual}%
+\def\crd@qualdepth{2}
+\def\crd@qualm{\crd@append{\crd@smalltype m}\to\crd@lo}% minor
+\def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7
+\expandafter\def\csname\crd@qual4\endcsname% 4
+{\crd@append{\crd@numbertype4}\to\crd@lo}
+\expandafter\def\csname\crd@qual5+\endcsname% aug. 5
+{\crd@append{\crd@numbertype\crd@numbersharp5}\to\crd@alt}
+\expandafter\def\csname\crd@qual5-\endcsname% dim. 5
+{\crd@append{\crd@numbertype\crd@numberflat5}\to\crd@alt}
+\expandafter\def\csname\crd@qual6\endcsname% 6
+{\crd@append{\crd@numbertype6}\to\crd@up}
+\expandafter\def\csname\crd@qual7\endcsname% dominant 7
+{\crd@append{\crd@numbertype7}\to\crd@up}
+\def\crd@quald{\crd@append{\crd@dim}\to\crd@up}% diminished
+\def\crd@qualh{\crd@append{\crd@hdim}\to\crd@up}% half diminished
+\expandafter\def\csname\crd@qual9-\endcsname% -9
+{\crd@append{\crd@numbertype\crd@numberflat9}\to\crd@alt}
+\expandafter\def\csname\crd@qual9+\endcsname% +9
+{\crd@append{\crd@numbertype\crd@numbersharp9}\to\crd@alt}
+% \end{macrocode}
+%
+% \begin{demo}[w]{qualparsing}
+% \makeatletter
+% \def\parsequal#1{\def\crd@input{#1}%
+% \crd@qualinit%
+% \loop\crd@parse\crd@input\for\crd@qual%
+% \ifcrd@parsematched\repeat%
+% (\crd@lo,\crd@up,\crd@alt)%
+% }%
+% \makeatother
+%
+% \parsequal{mMdh4+5-567-9+9}
+% \end{demo}
+%
+% \subsubsection{Parsing the whole chord}
+% We are now ready to parse the whole chord, consisting
+% of chordnote, qualifiers and bassnote. However
+% if one likes to set only a bassnote one needs to tell
+% that there is no chord note to set. For this purpose
+% the \DescribeMacro{\crd@skipcrdnote} \verb|\crd@skipcrdnote|
+% syntax table defines the `/' item which does this skip.
+% \begin{macrocode}
+\def\crd@skipcrdnote{crd@skipcrdnote}
+\expandafter\def\csname\crd@skipcrdnote/\endcsname{}
+% \end{macrocode}
+% \DescribeMacro{\crd@parsecrd}
+%
+% \begin{macrocode}
+\def\crd@parsecrd{%
+ \crd@vshift=0 %
+ \let\crd@numberval=\crd@vshift%
+ \crd@parse\crd@input\for\crd@number%
+ \crd@hshift=0 %
+ \let\crd@numberval=\crd@hshift%
+ \crd@parse\crd@input\for\crd@number%
+ \crd@bracketinit%
+ \crd@parse\crd@input\for\crd@bracket%
+ \def\crd@crdnote{}% chord note
+ \def\crd@crdacc{}% chord note accidental
+ \def\crd@bassnote{}% bass note
+ \def\crd@bassacc{}% bass note accidental
+ \crd@qualinit% initialize qualifiers
+ \let\crd@flat=\crd@noteflat%
+ \let\crd@doubleflat=\crd@notedoubleflat%
+ \let\crd@sharp=\crd@notesharp%
+ \let\crd@doublesharp=\crd@notedoublesharp%
+ \crd@parsenote\crd@crdnote\crd@crdacc% read chord note
+ \loop\crd@parse\crd@input\for\crd@qual% read qualifiers
+ \ifcrd@parsematched\repeat%
+ \crd@parse\crd@input\for\crd@skipcrdnote% skip eventually
+ \let\crd@flat=\crd@bassflat%
+ \let\crd@doubleflat=\crd@bassdoubleflat%
+ \let\crd@sharp=\crd@basssharp%
+ \let\crd@doublesharp=\crd@bassdoublesharp%
+ \crd@parsenote\crd@bassnote\crd@bassacc% read bass note
+ \crd@parse\crd@input\for\crd@bracket%
+ \crd@formatcrd\hfil% call rendering
+}
+% \end{macrocode}
+% \subsubsection{ Multiple chords}
+% \DescribeMacro{\crd@parsecrds}
+% The \verb|\crd@parsecrds| macro is used to read more then one
+% chord. This can be usefull if no corresponding note over which
+% one can put the note exist.
+% \DescribeMacro{\crd@crddelim}
+% The syntax table \verb|\crd@crddelim| is used.
+% \begin{macrocode}
+\def\crd@crddelim{crd@crddelim}%
+\expandafter\def\csname\crd@crddelim,\endcsname{}%
+\def\crd@parsecrds{%
+ \crd@parsecrd%
+ \crd@parse\crd@input\for\crd@crddelim%
+ \ifcrd@parsematched\crd@parsecrds\fi%
+}
+% \end{macrocode}
+% \begin{demo}[w]{multiple chords}
+% \c (Cm),2CM,Cm7
+% \end{demo}
+% \DescribeMacro{\c}
+% The main entry point for the user is the
+% \verb*|\c |\synt{chord-list}\verb*| | macro which calls the
+% \verb|\crd@output| routine with the formatted chords.
+% \begin{macrocode}
+\def\crd#1 {\def\crd@input{#1}\crd@output\crd@parsecrds}
+\let\cedilla=\c
+\let\c=\crd
+% \end{macrocode}
+%
+% \subsection{Formatting}
+% To allow the use of different fonts the
+% notion of fontstyles is introduced.
+% The initialisation of fontstyles is done in different macros.
+% \DescribeMacro{\crd@fontstylea}
+% \begin{macrocode}
+\def\crd@fontstylea{%
+ \font\crd@eightrm=cmr8
+ \font\crd@eightit=cmmi8
+ \font\crd@seventeenrm=cmr17
+ \font\crd@fourteenrm=cmr14
+ \font\crd@twelverm=cmr12
+ \font\crd@ninerm=cmr9
+ \font\crd@smallninerm=cmr9 scaled 900
+ \font\crd@bigninerm=cmr9 scaled 1100
+ \let\crd@notetype=\crd@seventeenrm
+ \def\crd@noteflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty2}}
+ \def\crd@notedoubleflat{\raise0.6ex\hbox{\kern-0.085em\musictwenty3}}
+ \def\crd@notesharp{\raise0.8ex\hbox{\musictwenty4}}
+ \def\crd@notedoublesharp{\raise0.8ex\hbox{\musictwenty5}}
+ \let\crd@basstype=\crd@fourteenrm
+ \def\crd@bassflat{\raise.5ex\hbox{\musicsixteen2}}
+ \def\crd@bassdoubleflat{\raise0.6ex\hbox{\kern-0.085em\musicsixteen3}}
+ \def\crd@basssharp{\raise1ex\hbox{\musicsixteen4}}
+ \def\crd@bassdoublesharp{\raise0.8ex\hbox{\musicsixteen5}}
+ \let\crd@numbertype=\crd@ninerm
+ \def\crd@numberflat{\raise.5ex\hbox{\musiceleven2}}
+ \def\crd@numbersharp{\raise1ex\hbox{\musiceleven4}}
+ \def\crd@numberminus{\crd@ninerm-}
+ \def\crd@numberplus{\crd@ninerm+}
+ \let\crd@capitaltype=\crd@smallninerm % capitals
+ \let\crd@smalltype=\crd@bigninerm % small
+ \def\crd@hdim{\crd@eightit$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@eightrm/}}
+ \def\crd@dim{\crd@eightit$\circ$}
+}
+% \end{macrocode}
+% The formating of the chords is done in the
+% \DescribeMacro{\crd@formatcrd}
+% \verb|\crd@formatcrd| macro. The parse results are
+% stored in the following macros:
+% \verb|\crd@crdnote| -- chord note,
+% \verb|\crd@crdacc| -- chord note accidental,
+% \verb|\crd@bassnote| -- bass note and
+% \verb|\crd@bassacc| -- bass note accidental.
+%
+%
+%\iffalse % dont include this, just experimental code
+%<*gobble>
+\def\mymatrix#1{\null\,\vcenter{\normalbaselines\m@th
+ \ialign{\hfil$##$\hfil&&\quad\hfil$##$\hfil\crcr
+ \mathstrut\crcr\noalign{\kern-\baselineskip}
+ #1\crcr\mathstrut\crcr\noalign{\kern-\baselineskip}}}\,}
+\def\crd@formatcrdb{%
+ ${\rm \crd@crdnote}\crd@crdacc%
+ ^{\crd@up}_{\raise0pt\hbox{{\rm \crd@lo}}}
+ \ifx\crd@alt\empty\else\left(\mymatrix\crd@alt\right)\fi%
+ \ifx\crd@bassnote\empty\else% do we have an bass note set ?
+ /{\rm \crd@bassnote}\crd@bassacc%
+ \fi$%
+}
+%</gobble>
+%\fi
+% \begin{macrocode}
+\def\crd@formatcrda{%
+ \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
+ {\crd@notetype\crd@bracketopen}%
+ {\crd@notetype\crd@crdnote\crd@crdacc}%
+ \vbox{%
+ \hbox{%
+ \crd@up%
+ \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
+ }%
+ \nointerlineskip\vskip1pt%
+ \hbox{\vphantom{\crd@capitaltype M}\crd@lo}}%
+ \ifx\crd@bassnote\empty\else%
+ {\crd@basstype/%
+ \lower0.5ex\hbox{\kern-0.17em \crd@bassnote\crd@bassacc}}%
+ \fi%\
+ {\crd@notetype\crd@bracketclose}%
+ }}
+}
+% \end{macrocode}
+% \begin{macrocode}
+\let\crd@formatcrd=\crd@formatcrda
+\crd@fontstylea
+% \end{macrocode}
+%
+% \begin{demo}[w]{formatting}
+% \generalsignature{0}\generalmeter{\meterfrac44}
+% \nobarnumbers
+% \startextract
+% \NOtes\c Cm,CM,Dm7 \hu f\en\bar
+% \endextract
+% \end{demo}
+%
+%
+% \DescribeMacro{\crd@output}
+% The output function puts the formatted chords on their place.
+%
+% \begin{macrocode}
+\def\crd@musixOutput#1{\hbox{\zchar{\crddefaultheight}{\hbox to\elemskip{#1\hss}}}}
+\let\crd@output=\crd@musixOutput
+% \end{macrocode}
+%
+%
+\makeatother
+%
+% \section{Customization}
+% If the default implementation does not suite the needs
+% some tips of how to change the default behaviour will be
+% given.
+% \subsection{Changing the extensions}
+% \begin{description}
+% \item[Q:] How do I get the symbol $Dm^{M7}$ ?
+% \item[A:] The M has to be put to the upper extensions list, so we
+% have to change the definition in the \verb|\crd@qual| table:
+% \def\crddefaultheight{0}
+% \begin{demo}[w]{$Dm^{M7}$}
+% \makeatletter%
+% \def\crd@qualM{\crd@append{\crd@capitaltype M}\to\crd@up}% major7
+% \makeatother%
+% \c DmM7 %
+% \end{demo}
+% \item[Q:] How do I get the symbol $Dm^{7-5}$ ?
+% \item[A:]
+% \begin{itemize}
+% \renewcommand{\labelitemi}{-}
+% \item
+% The predefined symbol can be found by using `h' -- for
+% half dimineshed.
+% \begin{demo}[w]{h}
+% \c Dh %
+% \end{demo}
+% \item
+% to ge the diminished fifth explicit to the upper extensions one could
+% either change the definition of the `h' to:
+% \begin{demo}[w]{Dmh : $Dm^{7-5}$}
+% \makeatletter%
+% \def\crd@qualh%
+% {\crd@append{\crd@numbertype 7-5}\to\crd@up}% half diminished
+% \makeatother%
+% \c Dmh %
+% \end{demo}
+% \item
+% or may introduce an mapping for the -5 and has to write: D7-5
+% \begin{demo}[w]{Dm7-5 : $Dm^{7-5}$}
+% \makeatletter%
+% \expandafter\def\csname\crd@qual5-\endcsname% dimin. 5
+% {\crd@append{\crd@numberminus\crd@numbertype5}\to\crd@up}%
+% \makeatother%
+% \c Dm7-5 %
+% \end{demo}
+% \end{itemize}
+% \end{description}
+%
+% \subsection{change fonts}
+% \begin{description}
+% \item[Q:] How do I change the font?
+% \item[A:] One has to create his own fontstyle definition
+% with a suitable formatting like for example:
+% \begin{demo}[w]{change fonts}
+% \makeatletter%
+% \def\crd@fontstyleb{%
+% \font\crd@newfont=cmssbx10%
+% \let\crd@notetype=\crd@newfont%
+% \def\crd@noteflat{\raise2pt\hbox{\musixchar90}}%
+% \def\crd@notedoubleflat{\crd@noteflat\crd@noteflat}%
+% \def\crd@notesharp{\raise3.5pt\hbox{\musixchar92}}%
+% \def\crd@notedoublesharp{\crd@notesharp\crd@notesharp}%
+% \let\crd@basstype=\crd@newfont%
+% \def\crd@bassflat{\crd@noteflat}%
+% \def\crd@bassdoubleflat{\crd@notedoubleflat}%
+% \def\crd@basssharp{\crd@notesharp}%
+% \def\crd@bassdoublesharp{\crd@notedoublesharp}%
+% \let\crd@numbertype=\crd@newfont%
+% \def\crd@numberflat{\crd@noteflat}%
+% \def\crd@numbersharp{\crd@notesharp}%
+% \def\crd@numberminus{\crd@newfont-}%
+% \def\crd@numberplus{\crd@newfont+}%
+% \let\crd@capitaltype=\crd@newfont % capitals in extension
+% \let\crd@smalltype=\crd@newfont % small letters in extension
+% \def\crd@hdim%
+% {\crd@newfont$\circ$\kern-4.4pt\raise.9pt\hbox{\crd@newfont/}}%
+% \def\crd@dim{\crd@newfont$\circ$}%
+% }%
+% \def\crd@formatcrdb{%
+% \hbox{\kern\crd@hshift\elemskip\raise\crd@vshift\internote\hbox{%
+% {\crd@notetype\crd@crdnote\crd@crdacc}%
+% \crd@lo%
+% \raise4pt%
+% \hbox{%
+% \crd@up%
+% \ifx\crd@alt\empty\else\crd@numbertype(\crd@alt\crd@numbertype)\fi%
+% }%
+% \ifx\crd@bassnote\empty\else%
+% {\crd@basstype/\crd@bassnote\crd@bassacc}%
+% \fi%\
+% }}
+% }
+% \crd@fontstyleb%
+% \let\crd@formatcrd=\crd@formatcrdb
+% \makeatother%
+% \nobarnumbers%
+% \startextract\NOtes\c D7,AfM7 \hu f\en\bar\endextract%
+% \end{demo}
+% \end{description}
+% Contributions for improving either the current fontstyle
+% or the definition of new ones are welcome.
+%
+% \section{Todo}
+%
+% The actual implementation is not really open for changing
+% the input format and the way the chords are displayed.
+% One should implement an middle layer which is fixed and
+% offer various implementations either for the input format
+% and the output format which are written using this layer.
+%
+% \section{Change Log}
+%
+% \begin{description}
+% \item[Version 1.0] (2.11.2004) \par Initial version.
+% \item[Version 1.1] (1.7.2005) \par
+% Added input guard and resetting of parameters
+% if file is included more than once.
+% \end{description}
+%
+% \Finale \PrintIndex
+%
+%\iffalse
+%<*gobble>
+%%% Local Variables:
+%%% mode: plain-tex
+%%% TeX-master: t
+%%% End:
+%</gobble>
+%\fi \ No newline at end of file